A Dance of the Forest by Wole Soyinka | ThAct

Hello, this blog is prepared in response to the thinking activity assigned by Megha ma'am on the African play 'A Dance of the Forest' by Wole Soyinka. 

Wole Soyinka: A Literary Titan and Voice of Conscience 

Wole Soyinka, born on July 13, 1934, in Abeokuta, Nigeria, is a towering figure in world literature, a fearless political activist, and the first African to be awarded the Nobel Prize in Literature in 1986. A master storyteller, playwright, poet, novelist, and essayist, Soyinka’s works are a profound exploration of the human condition, steeped in the rich cultural traditions of his Yoruba heritage while addressing universal themes of power, corruption, freedom, and identity.  

Soyinka’s journey began in the vibrant city of Abeokuta, where he was born into the Yoruba ethnic group. After completing his early education at Government College in Ibadan, he moved to England, graduating with a degree in English from the University of Leeds in 1958. During his time in England, he worked as a dramaturgist at the Royal Court Theatre in London, an experience that deeply influenced his theatrical career. Upon returning to Nigeria in 1960, Soyinka founded the theater group "The 1960 Masks" and later the "Orisun Theatre Company," where he produced and acted in his own plays. His debut play, "A Dance of the Forests" (1960), written for Nigeria’s independence celebrations, was a bold satire that challenged romanticized notions of the nation’s past and present, setting the tone for his career as a sharp critic of authoritarianism and societal ills.  

Soyinka’s plays are a testament to his versatility and depth. From lighthearted comedies like "The Lion and the Jewel" (1959), which pokes fun at Westernized elites, to deeply philosophical works like "Death and the King’s Horseman" (1975), a tragic exploration of duty, culture, and mortality, Soyinka masterfully fuses Western dramatic techniques with Yoruba folklore and mythology. His satirical comedies, such as "The Trials of Brother Jero" (1960) and "Kongi’s Harvest" (1965), critique religious hypocrisy and political corruption, while his more serious plays, like "The Road" (1965) and "Madmen and Specialists" (1970), delve into the complexities of human existence and the abuse of power.  

A fearless advocate for justice and democracy, Soyinka’s life has been marked by his unwavering commitment to these ideals. During Nigeria’s civil war (1967–1970), he was imprisoned for 22 months for advocating a ceasefire and criticizing the government. His harrowing experiences inspired "The Man Died: Prison Notes" (1972), a searing account of his ordeal, and "Poems from Prison" (1969), a collection of poignant verses that reflect his resilience and defiance. His activism extended beyond his writing, as he founded and led numerous political organizations, including the Democratic Front for a People’s Federation, and consistently used his voice to challenge corruption and authoritarianism in Nigeria and across Africa.  

Soyinka’s literary output is vast and varied, spanning plays, novels, poetry, and essays. His novels, such as "The Interpreters" (1965) and "Season of Anomy" (1973), explore the complexities of postcolonial African identity, while his poetry collections, including "Idanre, and Other Poems" (1967) and "Mandela’s Earth and Other Poems" (1988), showcase his mastery of language and lyrical expression. His critical works, like "Myth, Literature, and the African World" (1976), offer profound insights into the role of art and culture in society. In 1986, Soyinka was awarded the Nobel Prize in Literature for his ability to “fashion the drama of existence” with poetic brilliance and cultural depth. His Nobel lecture, "This Past Must Address Its Present", remains a powerful call for accountability and justice.  

Beyond his literary achievements, Soyinka is a global icon whose influence extends far beyond Nigeria. He has taught at prestigious universities worldwide, including Cambridge, Yale, and Harvard, and his works continue to inspire and provoke audiences across the globe. His latest novel, "Chronicles from the Land of the Happiest People on Earth" (2021), is a scathing satire on corruption and societal decay, proving that even in his late 80s, Soyinka remains a vital and incisive voice.  

Wole Soyinka is not just a writer; he is a cultural icon, a moral compass, and a beacon of hope for those who believe in the power of art to transform society. His life and work are a testament to the enduring spirit of resistance, creativity, and humanity. As he once said, “The greatest threat to freedom is the absence of criticism,” and through his words and actions, Soyinka continues to challenge us to confront the truths of our world with courage and integrity.

A Dance of the Forest: An Overview 

"A Dance of the Forests" is a play by Nigerian Nobel laureate Wole Soyinka, first performed in 1960 to celebrate Nigeria's independence. The play is a complex, allegorical work that critiques the glorification of the past and warns against repeating historical mistakes. It blends Yoruba mythology, symbolism, and ritual to explore themes of identity, history, and human folly. The story revolves around a gathering of living and dead characters summoned by the Forest Head (a god-like figure) to reenact a historical trial. The living, representing modern Nigeria, are confronted by their ancestors, who reveal the cyclical nature of human corruption, violence, and betrayal. The play challenges the romanticized view of the past, suggesting that both past and present are flawed. Through its rich symbolism and poetic language, "A Dance of the Forests" serves as a cautionary tale, urging societies to confront their imperfections rather than idealize history. It remains a seminal work in African literature, reflecting Soyinka's critique of postcolonial optimism and his call for self-awareness and accountability.

Q) Alternative Ending of A Dance of the Forests

The dance reaches its peak, but instead of renewal, the forest begins to decay. The trees bleed, their trunks splitting open to reveal writhing corpses from forgotten wars. The Dead Man and Dead Woman no longer ask to be remembered—they come to claim vengeance. Their eyes glow with a cold fire as they stretch out their hands, pulling the living into the depths of the earth.

Aroni, the limping messenger, steps forward, but his form begins to change. His limp disappears, his body growing taller, his skin darkening like burned wood. His voice, now deep and hollow, echoes through the clearing. “The cycle will not be broken by memory, but by destruction.”

The ground cracks open, and from the abyss rise warriors from ages past, their bodies torn and rotting. They drag Demoke, Rola, and the others into a nightmare of pain. Demoke screams as his carved totem comes alive, its wooden face twisted in agony. The spirits of those he wronged emerge from within, their voices whispering his sins as the totem wraps around him, swallowing him whole.

Rola staggers back, but the blood-red river surges forward, pulling her under. She fights, but there is no escape. The warriors laugh, their mouths dripping with decay, as they drag the rest of the living into the darkness.

The Forest Head stands still, watching the chaos unfold. The dance has ended, not in renewal, but in ruin. As the first light of dawn breaks, the land is silent. No birds sing. No voices remain. Only the wind moves through the empty forest, carrying the last whisper of the Forest Head:

"Perhaps it is better this way."

Then, like mist at sunrise, he fades into nothing. The world is left hollow—a graveyard where no future will rise.

Q) A Detailed Note on A Dance of the Forests by Wole Soyinka

Overview 

Wole Soyinka’s A Dance of the Forests is one of the most significant plays in African literature, marking a critical moment in Nigeria’s history as it gained independence in 1960. Unlike the celebratory and hopeful narratives that were expected during this occasion, Soyinka offered a sharp critique of both the past and the emerging postcolonial elite. The play presents an intricate fusion of history, myth, Yoruba ritual, and political commentary, warning against the dangers of forgetting the past and repeating its mistakes. It is a deeply philosophical and allegorical work that explores themes such as the failures of independence, the cyclical nature of history, the responsibility of the artist, and the struggle between tradition and modernity. The play also questions the idealization of the past, suggesting that pre-colonial African societies were not without their own flaws. By engaging with both Yoruba cosmology and Western dramatic forms, Soyinka crafts a play that is both uniquely African and globally relevant.

The Challenge of Nigerian Independence

At the heart of the play is Soyinka’s critique of Nigerian independence, which he portrays as a moment not of true liberation but of self-deception. The three major living characters—Demoke, Rola, and Adenebi—symbolize different aspects of postcolonial Nigeria’s struggles. Demoke, a carver and artist, represents the intellectual and creative class who are burdened with both personal and societal guilt. Rola, once a high-class prostitute known as Madame Tortoise, embodies moral corruption and the self-serving nature of those who manipulate others for their own gain. Adenebi, the bureaucrat, personifies the inefficiency and hypocrisy of government officials who ignore their responsibilities and engage in corruption. These characters, though flawed, undergo a process of confrontation with their pasts, ultimately pointing toward the necessity of self-awareness and transformation. However, Soyinka does not present this process as simple or guaranteed—change is difficult, and history tends to repeat itself. The presence of the Dead Man and the Dead Woman, spirits from the past who have been summoned to participate in the independence celebrations, serves as a reminder that the past cannot be erased. Instead of glorious ancestors, the living are confronted with figures who represent betrayal, suffering, and injustice, forcing them to recognize the darker aspects of their own history.

The Cycle of History and the Role of Tradition

One of the most compelling aspects of A Dance of the Forests is its treatment of history and time. The play does not follow a linear narrative but instead moves between past and present, suggesting that history is cyclical. The second part of the play takes us back to the court of Mata Kharibu, where characters from the present appear as their past selves, revealing that the same patterns of greed, violence, and betrayal have been repeated across generations. Demoke, for instance, is not only a carver in the present but also a poet in the past, struggling with similar ethical dilemmas. Rola, as Madame Tortoise, displays the same manipulative and destructive tendencies that define her modern self. This doubling of characters emphasizes Soyinka’s point that historical progress is often an illusion—without self-reflection, societies risk making the same mistakes again and again. This technique also allows Soyinka to critique the idea that decolonization is simply a return to an idealized pre-colonial past. The past was not free of corruption and tyranny, as seen in the oppressive rule of Mata Kharibu. Instead, Soyinka suggests that both past and present must be examined critically in order to create a future that truly breaks from cycles of injustice.

The Role of the Artist in Society

Another major theme in the play is the role of the artist in society, which is explored through the character of Demoke. He is a carver who has created a totem pole for the festival but carries the guilt of having pushed his apprentice, Oremole, to his death. This act, driven by jealousy, frustration, and personal demons, symbolizes the internal conflicts of the artist. However, Demoke is also the character who undergoes the most significant transformation. By the end of the play, he takes on the burden of purification, climbing the totem pole in a symbolic act of expiation. This journey reflects Soyinka’s belief that the artist must engage with society, challenging corruption and exposing uncomfortable truths. The character of Forest Head, often interpreted as a stand-in for Soyinka himself, reinforces this theme. As an overseer of events, Forest Head expresses both frustration and persistence, acknowledging that human beings rarely learn from their mistakes but also recognizing the necessity of continuing the struggle for truth and justice.

Dramatic Structure and Techniques

The play’s structure is unconventional, rejecting the traditional three- or five-act format of Western drama. Instead, Soyinka employs a two-part structure that blends reality, history, myth, and ritual. The first part establishes the main characters and their moral dilemmas, while the second part delves into the past, revealing how history repeats itself. This structure reflects Yoruba storytelling traditions, where time is fluid and spiritual realities coexist with the physical world. Additionally, Soyinka integrates non-verbal elements such as dance, masquerade, and ritual to create a theatrical experience that goes beyond dialogue. The game of ampe, played by the Triplets and the Half-Child, serves as a symbolic struggle for fate and destiny. The climactic moment, in which Demoke climbs the totem pole while Eshuoro dances wildly, is a visual and spiritual representation of sacrifice, redemption, and the ongoing battle between destruction and creation. This emphasis on performance highlights the play’s roots in Yoruba festival traditions, where music, dance, and ritual are central to storytelling.

Postcolonial and Philosophical Dimensions

Soyinka’s approach to postcolonialism differs from other African writers. While he critiques colonialism, he does not frame it as the sole cause of Nigeria’s problems. Instead, he emphasizes the need for internal reckoning. This sets him apart from writers like Ngugi wa Thiong’o, who advocate for a complete rejection of colonial languages and frameworks. Soyinka, by contrast, chooses to write in English, not as a concession to colonialism but as a means of reaching a wider audience while integrating African traditions into a global literary space. His approach aligns more closely with Frantz Fanon’s vision of decolonization as a process of creating new identities and ways of thinking rather than merely reversing colonial hierarchies. However, Soyinka has also been accused of “nativism,” a term used by Edward Said to describe an overemphasis on indigenous traditions at the expense of historical specificity. While some critics argue that Soyinka’s reliance on myth distances his work from concrete political realities, others see it as a way of addressing universal human struggles within a uniquely African framework.

Western and Yoruba Influences

The play also incorporates Western influences, though in a way that subverts them. The choric speeches of the spirits resemble Greek tragedy, while the character of Forest Head has been compared to Prospero in The Tempest. However, unlike Shakespeare’s plays, A Dance of the Forests does not resolve its conflicts neatly. There is no clear triumph of good over evil, only a continued struggle. The play ends ambiguously, with Demoke and Rola changed but uncertain of their future, reflecting Soyinka’s belief that true transformation is an ongoing process.

Lastly, A Dance of the Forests remains a challenging and thought-provoking work, defying easy interpretation. By blending history, myth, ritual, and political critique, Soyinka crafts a play that forces audiences to confront uncomfortable truths about the past and the present. Its themes of self-examination, the dangers of power, and the role of art remain relevant not only for Nigeria but for societies worldwide. Through its complex structure, dynamic characters, and rich use of language and performance, the play continues to be a landmark of African theater and a powerful statement on the human condition.

Thank you...

References 

Soyinka, Wole. A Dance of the Forests. Oxford University Press, 1963.

Petals of Blood by Ngũgĩ wa Thiong'o | ThAct

Hello, this thinking activity is based on the novel "Petals of Blood" (1977) written by Kenyan writer Ngũgĩ wa Thiong'o. In this blog I will give answer to couple of questions based on the novel. 

Ngũgĩ wa Thiong'o

Ngũgĩ wa Thiong'o, born in 1938 in Limuru, Kenya, emerged from humble beginnings as a member of the Agĩkũyũ ethnic group to become one of Africa's most influential writers and theorists. His early life was deeply impacted by British colonialism, which dispossessed his family of their land, and by Kenya's struggle for independence. Despite these challenges, he pursued education at Alliance High School and later at Makerere University in Uganda, where his literary career began to take shape.

His writing career evolved through distinct phases, beginning with his emergence in the 1960s alongside other prominent African writers like Chinua Achebe and Wole Soyinka. His early works, written in English, included "Weep Not, Child" (his first novel), "The River Between," and "A Grain of Wheat." These works established him as a significant voice in African literature, addressing themes of colonialism, cultural displacement, and the struggle for independence. However, the watershed moment in his career came after publishing "Petals of Blood" in 1977, when he made the radical decision to write primarily in his native Gĩkũyũ language.

The language question became central to both his literary practice and theoretical work. His decision to abandon English for his native language Gĩkũyũ was a political and cultural statement, thoroughly explored in his influential 1986 essay collection "Decolonising the Mind." This shift wasn't merely artistic but represented a deeper philosophical stance about the relationship between language, culture, and power in postcolonial Africa. His commitment to writing in Gĩkũyũ led to significant consequences, including his imprisonment in 1977 for the play "Ngaahika Ndenda" (I Will Marry When I Want). While imprisoned, he wrote his first Gĩkũyũ novel, "Caitaani mũtharaba-Inĩ" (Devil on the Cross), on toilet paper.

His political activism and critique of neo-colonial corruption in Kenya forced him into exile in 1982. He first lived in England before moving to the United States in 1989, where he continued his academic career at prestigious institutions including Yale University and the University of California, Irvine.  Throughout his exile, he maintained his commitment to writing in Gĩkũyũ and translating his works into English afterward, despite the practical challenges this posed.

Today, in his mid-80s and despite health challenges, Ngũgĩ continues to be a powerful voice in postcolonial literature and theory. His work spans multiple genres like novels, plays, memoirs, and academic writings, all characterized by their incisive critique of colonialism and neo-colonialism. His true legacy lies in his unwavering commitment to African languages and literature, and his profound influence on postcolonial studies. His life's work represents not just literary achievement but a sustained argument for cultural decolonization through language, making him a crucial figure in both African and world literature.

Q) Write a detailed note on Fanonism and Constructive Violence in Petals of Blood. 

Ngugi wa Thiong’o’s Petals of Blood is a profound exploration of the socio-political struggles that plagued Kenya after independence. While the country attained its formal freedom from British colonial rule in 1963, the neo-colonial systems that replaced the colonial administration perpetuated the same cycles of exploitation, inequality, and disenfranchisement. Through this narrative, Ngugi critiques the betrayal of the ideals of independence and presents constructive violence, infulenced by Frantz Fanon’s philosophy, as a necessary means to confront the systemic oppression of neo-colonialism.

Frantz Fanon, in his 1961 seminal work The Wretched of the Earth, describes decolonization as an inherently violent process. He asserts that violence is not merely destructive but also a "cleansing force" that liberates the colonized from their inferiority complex, instills confidence, and unites them in their struggle against oppression. Fanon argues that the native’s violence is proportionate to the structural and physical violence imposed by the colonial regime. This violence, according to Fanon, is a redemptive act, one that restores dignity to the oppressed and forges a path to genuine liberation.

Ngugi adopts and extends this Fanonian philosophy in Petals of Blood, using the struggles of post-independence Kenya as his backdrop. In this novel, he critiques the neo-colonial elites who, in collusion with global capitalist forces, perpetuate the exploitation of Kenya’s working class and peasantry. Ngugi's Kenya is one where the promises of independence are betrayed by the rise of corrupt politicians, capitalist profiteers, and international corporations, all of whom prioritize profit over people. Through the lives of his protagonists Munira, Abdullah, Wanja, and Karega, Ngugi vividly illustrates how systemic oppression manifests in personal struggles, often leaving violence as the only recourse for change. Kenya’s history of violence forms a significant context for the novel. The anti-colonial Mau Mau uprising of the 1950s, led by figures like Dedan Kimathi, was a grassroots armed struggle against British rule. This movement, driven largely by the Gikuyu peasantry, symbolized the resilience and determination of Kenya’s oppressed classes to reclaim their land and dignity. Although independence was achieved in 1963, the neo-colonial reality mirrored colonial exploitation, with power concentrated in the hands of a few elites. Ngugi draws on this history to argue that the fight for liberation does not end with independence but must continue against the internal forces of oppression.

The concept of constructive violence is intricately woven into the narrative of novel. Each protagonist embodies a different facet of resistance. Wanja, a strong and complex character, represents resilience in the face of societal betrayal and moral decay. Her act of killing Kimeria, a symbol of corruption and exploitation, is a personal liberation and a form of reclaiming agency. Fanon’s idea that violence restores an individual’s humanity is evident in Wanja’s transformation as she confronts the oppressive structures that have shaped her life.

In case with Abdullah, a former Mau Mau fighter, exemplifies the disillusionment of those who sacrificed everything for independence, only to be betrayed by the new Kenya. Crippled and marginalized, Abdullah’s act of violence against Kimeria is a poignant commentary on the failure of the post-independence state to honor its freedom fighters. His vengeance is not only personal but symbolic of the broader frustration of the oppressed. On the other hand Karega, a trade unionist and advocate for workers' rights, channels his resistance into collective action. Unlike Wanja and Abdullah, Karega believes in systemic change through unity and organized struggle rather than individual acts of violence. His character underscores the importance of solidarity among the oppressed to challenge the entrenched systems of exploitation. Munira, a teacher and a "man of God," grapples with his own moral and spiritual dilemmas. His decision to burn down the Sunshine Lodge, a symbol of moral and societal corruption, represents a radical break from passivity. Munira’s act of arson, while destructive, is framed as a purifying force, a metaphor for the cleansing of a decayed society.

Ngugi's portrayal of violence in Petals of Blood is far from gratuitous, it is a thoughtful exploration of how resistance, in its various forms, is necessary for societal renewal. The novel suggests that constructive violence, whether physical or symbolic, is a tool for dismantling oppressive structures and creating a new social order. This aligns with Fanon’s view that violence is not merely a reaction to oppression but a transformative force that can lead to the birth of a new society. Petals of Blood serves as a powerful narrative of resistance against neo-colonial exploitation, deeply rooted in the philosophy of Fanonism. Through the struggles of its protagonists, the novel illustrates that constructive violence, though fraught with moral and ethical complexities, is often the only means to achieve true liberation. 

Q) Write a note on the ideological orientation of Ngugi Wa Thiong’o’ Petals of Blood.

The novel is a profound critique of post-independence Kenya, where the promises of liberation from colonial rule have been undermined by internal corruption, economic inequality, and the continued influence of neocolonial powers. Published in 1977, the novel is ideologically rich, weaving together themes of postcolonialism, Fanonian Marxism, and cultural resistance to illuminate the socio-political struggles faced by the Kenyan people in the aftermath of British imperial rule.

Postcolonial Critique and Fanonian Marxism

Drawing on Frantz Fanon’s theories, Ngugi explores the lingering psychological and material effects of colonialism. Fanon’s assertion that decolonization must extend beyond political independence to encompass mental and social liberation is echoed in the struggles of Petals of Blood’s characters. The narrative unfolds in Ilmorog, a rural village that symbolizes Kenya’s traditional roots, now caught in the grip of modernization and economic exploitation. Through characters like Abdullah, a former Mau Mau fighter who has lost his leg in the rebellion, Ngugi underscores the disillusionment of those who sacrificed for independence only to see their vision of a just and equitable society betrayed. The novel’s focus on class disparities and the alienation of labor aligns with Marxist critiques, emphasizing that true freedom requires dismantling not only colonial structures but also the capitalist systems perpetuating inequality.

Neocolonial Betrayal

Ngugi sharply critiques Kenya’s post-independence elite, whom he portrays as complicit in maintaining the exploitative structures of colonialism. Figures like Nderi wa Riera, a populist politician turned corporate puppet, epitomize this betrayal. The novel highlights how the new ruling class, instead of empowering the masses, collaborates with foreign corporations to exploit Kenya’s resources and people. For example, Ilmorog’s traditional economy is disrupted when local resources, such as homemade liquor, are co-opted by foreign-owned breweries. These developments illustrate how neocolonialism manifests through economic dependence and cultural erosion, leaving ordinary citizens marginalized and disenfranchised.

Cultural Resistance and the Politics of Language

A critical component of Ngugi’s ideological orientation is his commitment to cultural revival. While Petals of Blood is written in English, Ngugi incorporates African linguistic elements to challenge the dominance of colonial languages. By blending English with African expressions and cultural references, he reclaims the language as a tool for anti-imperialist expression. This strategy of abrogation and appropriation undermines the colonial power structures embedded in language, emphasizing that language is not static but can be adapted to serve the needs of the oppressed. Ngugi’s use of terms like “Uhuru” (freedom) and other African expressions immerses readers in the cultural and historical realities of Kenya, fostering a sense of solidarity and identity.

Representation of Women and Gender Dynamics

Through the character of Wanja, Ngugi addresses the multifaceted oppression faced by women in a patriarchal and capitalist society. Wanja begins the novel as a victim of exploitation but evolves into a figure of resilience and agency. Her journey from being a barmaid to establishing her own brothel reflects both the moral ambiguities and the survival strategies required in a society that commodifies both women and labor. Wanja’s experiences serve as a microcosm of Kenya’s struggles, symbolizing the broader resistance against socio-economic and gender-based injustices. At the same time, her story critiques the patriarchal structures that equate political resistance and heroism with masculinity, offering a feminist lens to the postcolonial narrative.

Historical Memory and Resistance

Petals of Blood also functions as a reimagining of Kenyan history, emphasizing the importance of collective memory and resistance. Ngugi integrates African oral traditions, songs, and folklore into the narrative, offering a counter-history to the colonial and elite-dominated narratives of the past. The novel situates the Mau Mau rebellion within a broader continuum of African resistance, connecting it to global anti-imperialist struggles. Through this historical lens, Ngugi critiques the notion of independence as a completed project, instead framing it as an ongoing process requiring active engagement from the oppressed.

Ultimately, Petals of Blood is more than a literary work—it is a revolutionary manifesto that seeks to awaken national consciousness and inspire collective action. By exposing the failures of Kenya’s post-independence leadership and the continued exploitation of its people, Ngugi challenges readers to envision a future free from both colonial and neocolonial oppression. The novel’s blending of political, cultural, and personal struggles reflects Ngugi’s belief that literature is not merely a form of entertainment but a tool for societal transformation. His ideological commitment to socialism and the empowerment of ordinary people resonates throughout the text, making Petals of Blood a timeless exploration of liberation, resistance, and justice. 

References 

Amin, Tasnim. "Fanonism and Constructive Violence in Petals of Blood." International Journal of Scientific Research, vol. 6, no. 4, Apr. 2017. Accessed 15 February 2025.

Tasnim, Sumaiya. “Ideological Orientation of Ngugi Wa Thiong’o’s Petals of Blood.” International Journal of English, Literature and Social Science, vol. 4, no. 4, 2019. 10.22161/ijels.4427. Accessed 15 February 2025.

wa Thiong'o, Ngugi, and Ngũgĩ wa Thiongʼo. Petals of Blood. Edited by Chinua Achebe, Penguin Publishing Group, 2005.

Thank you...

The Joys of Motherhood by Buchi Emecheta

Hello, this blog post is a part of thinking activity on the novel The Joys of Motherhood by Buchi Emecheta. 

Buchi Emecheta

Buchi Emecheta (1944–2017) was a Nigerian-born British writer known for her powerful portrayals of African women’s struggles in both Nigeria and the diaspora. Born in Lagos, she moved to London in 1962, facing personal and societal challenges that shaped her writing.

Her early novels, In the Ditch (1972) and Second-Class Citizen (1974), were based on her own experiences and explored themes of gender inequality, racism, and resilience. Works like The Bride Price (1976), The Slave Girl (1977), and The Joys of Motherhood (1979) critically examined the roles of women in Nigerian society, while The Rape of Shavi (1983) explored cultural conflicts between Africa and the West. Her later novels, including Gwendolen (1989) and Kehinde (1994), focused on immigrant life in Britain.

Beyond fiction, Emecheta wrote children’s books, plays, and an autobiography, Head Above Water (1986). She also co-founded a publishing company and worked as a lecturer. While she distanced herself from the feminist label, her works remain essential in discussions on gender, migration, and postcolonial identity.

Q) “The most celebrated female character in African creative writing is the African mother.” by Marie A. Umeh according to this, is the character of Nnu Ego celebrating motherhood or not? Explain.

In The Joys of Motherhood, Buchi Emecheta challenges the traditional glorification of motherhood in African literature, presenting a stark contrast to the prevailing view that motherhood is the ultimate source of fulfillment and honor for women. Marie A. Umeh argues that the African mother is the most celebrated female character in African creative writing, often portrayed as a figure of strength, love, and sacrifice, whose children provide her with status and security. However, Emecheta dismantles this idealized image by depicting the life of Nnu Ego, a woman who dedicates her existence to raising her children, only to face abandonment and disappointment in her old age. Rather than celebrating motherhood, the novel exposes its burdens, showing that it is often an oppressive institution that traps women in endless cycles of sacrifice and suffering. The title itself, The Joys of Motherhood, is deeply ironic, as Nnu Ego’s experience reveals that motherhood does not necessarily lead to joy, but rather to hardship, disillusionment, and loneliness.

Nnu Ego’s struggles begin early in life when she is deemed barren in her first marriage and is sent back to her father’s home in disgrace. She is later married to Nnaife, a man she does not love, but she clings to the belief that having children will bring her fulfillment and security. When she finally becomes a mother, she initially sees her role as a source of pride and purpose, believing that her children will ensure her a respected old age. However, as time passes, the realities of motherhood become apparent, she endures extreme poverty, relentless childbearing, and a loveless marriage. Her husband, Nnaife, is an irresponsible and weak man who fails to provide for the family, forcing Nnu Ego to bear the entire burden of raising their children. She works tirelessly, sacrificing her well-being to ensure that her sons receive an education, believing this will secure her future. Yet, in the end, her children, especially her eldest son, Oshia, do not return the devotion she gave them. Instead of providing her with comfort and care, they prioritize their own ambitions and leave her to die alone, proving that her sacrifices were in vain.

Emecheta contrasts Nnu Ego’s fate with that of Adaku, her co-wife, who rejects the traditional role of motherhood as a woman’s only source of identity. Unlike Nnu Ego, who continues to adhere to societal expectations despite her suffering, Adaku chooses financial independence over blind devotion to children. When she realizes that she is not valued because she has no sons, Adaku leaves her husband, embraces trade, and invests in her daughters’ education, showing that women can seek fulfillment outside of marriage and motherhood. Through this contrast, Emecheta presents an alternative vision of womanhood. One that does not equate a woman’s worth solely with her ability to bear and raise children. Adaku’s decision to prioritize economic empowerment over traditional motherhood highlights the feminist themes in the novel, suggesting that women must break free from societal constraints to achieve true fulfillment.

As Nnu Ego’s life progresses, she begins to question the expectations placed upon women, realizing that motherhood, as it is constructed in her society, is more of a burden than a blessing. She laments, "I am a prisoner of my own flesh and blood. Is it such an enviable position?" , acknowledging that women are conditioned to aspire for children despite the hardships that come with it. She further questions, "When will I be free?" .

Q) The basic narrative lends itself toward neo-feminism. The main female characters struggle to shed the conditioning that forces them to act out roles that bring little fulfillment. With reference to this, study The Joys of Motherhood by applying a feminist theory.

Buchi Emecheta’s The Joys of Motherhood is a profound critique of gender roles, colonialism, capitalism, and patriarchal oppression in Nigerian society. The novel explores the struggle of its female characters to redefine their identities in a world that forces them into roles that bring little fulfillment. Nnu Ego, the protagonist, embodies the traditional expectations placed upon women, particularly the belief that motherhood is the ultimate source of purpose and joy. However, the novel ultimately deconstructs this notion, exposing the harsh realities of a patriarchal system that places immense burdens on women while offering them little in return.

Through a neo-feminist lens, the novel highlights how women attempt to reclaim agency beyond the victimization narratives of early feminist discourse. Neo-feminism emphasizes economic, social, and political empowerment while acknowledging the diverse experiences of women across cultures. Emecheta does not present a monolithic view of womanhood but instead illustrates the varying struggles of her female characters, aligning with Chandra Talpade Mohanty’s argument that Western feminism often homogenizes Third World women’s experiences. Each woman in The Joys of Motherhood navigates oppression differently, shaped by colonial domination, class structures, and traditional Igbo customs.

Nnu Ego’s life exemplifies the burden of motherhood as a patriarchal construct. In Igbo society, a woman’s worth is determined by her ability to bear children, particularly sons. She believes that by having many children, especially boys, she will secure a stable future. Yet, despite dedicating her life to fulfilling this role, she dies alone, abandoned by the very children for whom she sacrificed everything. This tragic ending exposes the illusion of motherhood as a source of fulfillment and reflects the feminist critique of patriarchal motherhood, which conditions women to prioritize their families over personal aspirations, only to be discarded when they are no longer needed.

Economic disempowerment further exacerbates Nnu Ego’s suffering. Despite her tireless efforts to provide for her children, she remains financially dependent, first on her husband and later on her sons. Colonial Lagos imposes additional burdens on women, expecting them to contribute to household finances while denying them economic security. This situation mirrors the intersection of patriarchy and capitalism, which often forces women into unpaid or undervalued labor. The novel underscores how capitalism exploits women by redefining their traditional roles. In Ibuza, men were expected to be the breadwinners, while women were relegated to domestic duties. However, in Lagos, colonial policies create a new economic structure that demands women’s labor while still upholding patriarchal expectations. Nnu Ego is left with no choice but to engage in petty trading to sustain her family, yet her work is never fully recognized or rewarded.

Colonialism further entrenches gender inequality. Men like Nnaife, Nnu Ego’s husband, suffer under British rule, stripped of power and dignity in the workplace. However, instead of resisting the colonial system, they redirect their frustration onto their wives, reinforcing patriarchal control at home. This reflects the postcolonial feminist argument that colonialism intensified existing patriarchal structures rather than dismantling them. As Emecheta illustrates, colonial rule not only disenfranchised native men but also exacerbated women’s oppression. The colonial state imposed Western values through institutions such as religion and legal systems, further marginalizing women. For instance, Nnu Ego is forced to swear on the Bible in court rather than by her traditional chi, demonstrating how colonial rule attempts to erase indigenous beliefs and impose foreign cultural norms.

Yet, within this oppressive system, some female characters resist and redefine womanhood. Adaku, Nnaife’s second wife, refuses to accept the traditional role of a submissive woman. Recognizing that her status in the household is diminished because she lacks a male child, she rejects the expectation that she should remain in a polygamous marriage. Instead, she chooses financial independence, entering the market trade to secure her future. Her decision aligns with neo-feminist ideals, as she refuses to be defined solely by her role as a mother and asserts her agency through economic self-sufficiency. Similarly, Nnu Ego’s mother, Ona, challenges traditional expectations by resisting marriage and demanding personal freedom. However, her fate underscores the limitations placed on women even when they attempt to assert independence.

Education emerges as a critical tool for female empowerment in the novel. The contrast between Nnu Ego and Adaku’s daughters highlights the generational shift in feminist consciousness. Adaku prioritizes her daughters’ education, understanding that financial independence is crucial for breaking free from patriarchal constraints. In contrast, Nnu Ego clings to the outdated belief that her sons will provide for her, a belief that ultimately leads to her downfall. This reflects the feminist argument that education is one of the most effective means of dismantling systemic oppression.

The novel also underscores the importance of solidarity among women in resisting oppression. In Lagos, Ibuza women form networks of support through monthly meetings, providing each other with financial assistance and emotional encouragement. This sense of community demonstrates a grassroots form of feminism in which women create their own spaces of empowerment within a patriarchal system. Emecheta highlights how African women, despite their differences, share common struggles, aligning with Mohanty’s argument that Third World women must unite against intersecting forms of oppression rather than being seen as passive victims.

Emecheta does not, however, portray all women as victims. Some internalize patriarchal norms and perpetuate the oppression of other women. Adankwo, for instance, represents those who accept their fate and uphold traditional hierarchies. She criticizes Adaku’s ambition and reinforces the belief that a woman’s value is tied to her ability to bear sons. Similarly, Agbadi’s senior wife, Agunwa, disdains Ona because she refuses to conform to traditional expectations of femininity. These characters illustrate how patriarchy functions not just through men but also through women who have internalized its values.

Beyond gender oppression, the novel also examines the sexual exploitation of women in polygamous systems. In Igbo society, women’s sexual desires are often dismissed, and they are expected to endure neglect and mistreatment by their husbands. Agbadi, for example, takes multiple wives but ignores them for years, only ensuring they receive basic sustenance. This dehumanizing treatment reduces women to objects of male pleasure, reinforcing their status as subordinate beings. When Nnaife marries Adaku, he treats her like a prized possession, parading her around as if she were a new acquisition. Meanwhile, Nnu Ego is forced to accept her secondary status, enduring humiliation in silence. Emecheta exposes the deep-rooted inequalities in the polygamous system, where women’s worth is constantly measured against their ability to produce male heirs.

Ultimately, The Joys of Motherhood serves as a feminist critique of both indigenous patriarchy and colonial exploitation. Emecheta exposes the ways in which women’s roles are socially constructed and perpetuated by systems that do not serve them. The novel does not outright reject motherhood but challenges the notion that it is the sole source of fulfillment for women. Through characters like Adaku, Emecheta presents an alternative vision of womanhood—one that embraces economic and personal independence. However, the tragic fate of Nnu Ego serves as a cautionary tale about the dangers of blindly adhering to traditional gender roles.

By applying a feminist lens, particularly a neo-feminist and postcolonial feminist perspective, The Joys of Motherhood emerges as a powerful critique of the structures that confine women to unfulfilling lives. The novel ultimately advocates for women’s right to define their own identities beyond societal expectations. Emecheta’s portrayal of gender, colonialism, and capitalism reveals the multifaceted nature of female oppression, offering a deeply insightful exploration of the struggles faced by African women in both traditional and modern contexts.

References

Emecheta, Buchi. The Joys of Motherhood: A Novel. G. Braziller, 1979.

Kohzadi, Hamedreza. “A Study of Buchi Emecheta's The Joys of Motherhood in the Light of Chandra Talpade Mohanty: A Postcolonial Feminist Theory.” European Online Journal of Natural and Social Sciences, vol. 4, no. 1, 2015, pp. 26-38. https://www.researchgate.net/publication/333296130_A_Study_of_Buchi_Emecheta's_The_Joys_of_Motherhood_in_the_Light_of_Chandra_Talpade_Mohanty_A_Postcolonial_Feminist_Theory. Accessed 15 February 2025.

Umeh, Marie A. “The Joys of Motherhood: Myth or Reality?” Colby Library Quarterly, vol. 18, no. 1, pp. 39-46. https://digitalcommons.colby.edu/cq. Accessed 15 February 2025.

The Only Story | Flipped Learning Activity

Hello, this blog post is a response to an activity assigned by Prof. Dr. Dilip Barad Sir. This worksheet is part of the study of the contemporary novel The Only Story by Julian Barnes.

Click here for Teacher's Blog

Video 1: Plot Summary and Characters

This video introduces the major characters of the novel and provides a plot summary for the viewers. The Only Story is a recently published novel by Julian Barnes, released in 2018. The novel is divided into three parts and begins with the classical definition of the novel, as given by Dr. Samuel Johnson in his 1755 Dictionary of the English Language.

Novel: A small tale, generally of love.

 Samuel Johnson 

The major characters of the novel are Paul Roberts, a nineteen-year-old protagonist, and Susan Macleod, his forty-eight-year-old beloved. Susan is married to Gordon Macleod and has two daughters, Martha and Clara, who appear to be older than Paul. The story revolves around the love affair between 19-year-old Paul and 48-year-old Susan Macleod. The novel is narrated from the perspective of an older Paul Roberts, who reflects on his past and recounts his only love story with Susan. Through his memories, we are taken back fifty years in a flashback, where the story unfolds. Additionally, this novel shares a connection with Barnes's earlier work, The Sense of an Ending.

"Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally, the only real question"

The story begins with a question. The novel is less about the love story between Paul and Susan and more about philosophical reflections on love, life, and suffering. It starts when Paul, a 19-year-old boy, joins a country club to play tennis. There, he meets Susan Macleod, a fellow tennis player. By sheer luck, they are paired together for a mixed doubles match, and from that point, they begin to develop feelings for each other. Paul starts dropping Susan home every day in his car, and over time, their relationship deepens. Eventually, they move in together in London. However, their relationship soon begins to deteriorate. Susan starts drinking excessively and lying to Paul. Meanwhile, Paul matures into his mid-thirties and begins distancing himself from Susan. Seeking new opportunities, he moves abroad for work, leaving Susan behind. As time passes, Susan ages and develops dementia. Paul, weary of the responsibility, decides to leave Susan in the care of her daughter, Martha, who agrees to look after her alcoholic mother. Since the novel is told from Paul’s perspective, we only see his version of events one that may be biased or incomplete.

In the end, Paul attends Susan in the hospital, but he does so without any visible emotion. Instead of worrying about Susan's condition, he finds himself preoccupied with his empty petrol tank, highlighting his emotional detachment from Susan and the life they once shared.

Video 2: Narrative Pattern 

The narrative structure of this novel follows a classical framework. The protagonist, Paul Roberts, is an unreliable narrator, and the novel employs a mix of first, second, and third-person narration. While Julian Barnes adheres to traditional storytelling techniques, he also incorporates postmodern elements into the novel. Themes of memory and history are intricately explored through Paul’s unreliable narration, highlighting the fluid and subjective nature of personal recollections.

Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally, the only real question. You may point out – correctly – that it isn’t a real question. 

Because we don’t have the choice. If we had the choice, then there would be a question. But we don’t, so there isn’t. Who can control how much they love? If you can control it, then it isn’t love. I don’t know what you call it instead, but it isn’t love.

Most of us have only one story to tell. I don’t mean that only one thing happens to us in our lives: there are countless events, which we turn into countless stories. But there’s only one that matters, only one finally worth telling. This is mine. 

 

Consider the novel's opening and the philosophical reflections on the first page how Paul, the narrator, contradicts himself. At first, he asserts that we all have only one story worth telling, yet in the same passage, he claims there are countless stories to tell. This self-contradiction becomes a crucial motif throughout the novel. Additionally, we tend to narrate stories in which we portray ourselves as heroes rather than acknowledging narratives that slip beyond our control. This is precisely the case with Paul. He recounts his love story, but it is possible that he presents only one side of it, while the actual reality might be entirely different. Similarly, Paul initially states that he is not keeping a diary, yet later in the novel, he confesses that he is indeed maintaining one. The entire narrative is intricately woven, employing the warp and weft of memory, and it unfolds through the flashback technique.

At the end of this video, a comparison is drawn between Thomas Hardy and Julian Barnes. However, while Hardy tells a story and embeds philosophical reflections within it, Barnes offers only fragments of a story, focusing primarily on philosophical musings.

Reading this novel was a profound experience. Initially, I expected a straightforward love story between two lovers, but as I progressed through the narrative, I realized it was much more than that. The distinct narrative style in each part is striking, demanding the reader’s active engagement. The use of flashback, while enriching, can also be disorienting at times.

Video 3: Theme of Love | Passion and Suffering

The theme of love is undeniably central to this novel, as it revolves around the relationship between Paul and Susan. At 19, Paul holds a naive and immature perception of love, primarily tied to sexual gratification. He is unaware of the responsibilities that love entails. Love in the novel is closely intertwined with passion and suffering an important linguistic connection, as the Latin root of "passion" (patior) means "to suffer." Although the word no longer carries this meaning in everyday usage, the novel explores how love transforms into passion and ultimately leads to suffering, not just for Paul and Susan but also for their family members.

'Man's love is of man's life a thing apart 

'Tis women's whole existence

This quote appears in the novel, where Barnes critiques the traditional notion of love through the characters of Paul and Susan. It is Susan who falls in love with Paul, making him her third partner, whereas Paul remains unmarried his entire life out of love for Susan and a lingering sense of remorse.

A Lacanian interpretation is also embedded in the video. As humans, we have repressed desires that we seek to fulfill through our love objects whether they are human, non-human entities, or even abstract things. In pursuing these love objects, we attempt to fill the void or lack within our lives. This idea is particularly evident in Susan’s marriage, she does not receive love or sexual fulfillment from Gordon, but she finds both in her love object, Paul.

However, love also brings responsibilities, that Paul repeatedly fails to fulfill. He is powerless against Gordon’s domestic violence towards Susan, unable to confront him, and ultimately flees from the Macleod household. Similarly, he does not intervene when Eric is attacked in the street, later considering himself a coward. As Susan ages and becomes incapable of taking care of herself, Paul ultimately abandons his duty once again by handing her over to her daughter, Martha, rather than taking care of her himself.

Video 4: Memory Novel 

This video focuses on the main four points which includes.

• Trauma is memory
• Imperfection of memory 
• Memory priority 
• Memory and morality 

'History is collective memory; memory is personal history, trauma is memory' 

The video draws a comparison between The Only Story and the movie Memento, in which the protagonist suffers from short-term memory loss, forgetting everything within 15 minutes. The film raises a crucial question, if memory is taken away, does moral responsibility for one’s actions also disappear? In postmodern times, the concepts of history and memory have become increasingly complex. Every time we revisit our memories, we unconsciously distort them, shaping them according to our emotions and biases. The very facts we store in our minds are often colored with lies. This is precisely the case with Paul’s memory and narration he keeps deceiving himself and the readers because of his remorse. For Paul, it is not about erasing memory but rather about reconstructing it in a way that serves his purpose. His unreliable narration reflects his guilt and his attempt to justify his actions.

The novel also touches on the idea that all human beings have at least one deeply significant story they cannot share with anyone. In this sense, everyone is a subaltern there are always things we cannot speak about. Paul, too, struggles to openly share his love story because, in reality, he is the villain of that story. Instead of presenting the full truth, he shapes the narrative from his own perspective to avoid confronting his own failings. He cannot tell his actual story because he knows he is the one at fault.

Paul’s mental state is characterized by cowardice. He runs away instead of standing up for his friend Eric. The video also briefly discusses passing references to an American man and F-1 racer Max Verstappen, though their connection to the novel remains unclear.

Video 5: Joan | Character Study

Joan is the surviving sister of Gerald, Susan’s first husband, who died of leukemia. She comes across as a confident and strong-willed person, naturally taking charge in her relationships, especially with Susan. Her self-assured nature is clear through her casual authority and humorous banter, which subtly reinforces her position in the social hierarchy among her friends. Despite her tough and witty exterior, Joan is also practical, particularly when it comes to managing everyday expenses, as seen in her interest in calculating fuel costs. This mix of humor and pragmatism highlights both her intelligence and her careful approach to money.

Joan is independent and resilient. She never married and spent much of her life caring for her family, creating a self-sufficient and somewhat eccentric lifestyle. While she enjoys small pleasures like gin and cigarettes, she is mindful of her spending and lifestyle choices. Her reluctance to change such as dismissing walking despite its benefits reflects her desire to maintain comfort and control over her life. Joan is a memorable and well-rounded character, combining authority, wit, and practicality in a unique way.

Video 6: Two Ways to Look at Life

There were two ways of looking at life: or two extremes of viewpoints, with a continuum between them. 

Life is described in two very different ways. The first view is that life is like being the captain of a ship. In this view, every choice you make whether big or small steers your life in a particular direction, just like a captain deciding which way to guide a paddle steamer down the river. Each decision is important because it determines one path while closing off others, emphasizing the power of free will and personal control.

The second view, however, sees life as more like a bump on a log. Here, no matter what choices you might think you’re making, you’re actually just being carried along by forces beyond your control, much like a log drifting on the mighty Mississippi. In this perspective, life unfolds through inevitable currents and eddies that you cannot steer, suggesting that many events are predetermined.

Paul, the narrator, reflects on these two ways of looking at life and even suggests that sometimes his life feels like it is a mix of both. At times, he experiences the freedom of making choices, and at other times, he feels like he’s simply being pushed along by fate.

Video 7: Question of Responsibility 

The video discuss about the theme of responsibility as it appears in the novel. It begins by highlighting a quote that suggests the narrator must be cautious when telling his story, implying that responsibility in narrating events and in life is a central concern. The speaker introduces the idea that responsibility can be seen in two ways, either as a matter of personal choice and control, or as something determined by larger, unavoidable forces.

Using the metaphor of a chain it is explained that each person or event is like a link in a chain. Just as a chain can break if one weak link fails under pressure, relationships and life can fall apart when a part of the whole is damaged. However, the metaphor also asks us to consider whether a broken link is weak by nature or simply overwhelmed by external forces. This idea extends to the notion of blame: rather than simply blaming one person for a failure such as Gordon’s domestic violence the lecture argues that we must look at the entire chain of events and recognize that everyone involved has some responsibility.

Paul Roberts, the narrator, uses this theme of responsibility to reflect on his own life. He questions whether he is to blame for his mistakes or if his circumstances and the actions of others, like Gordon, are more to blame. The lecture suggests that it is easy to assign blame to someone else, but true introspection requires admitting one’s own role in the breakdown of relationships. Ultimately, the message is that understanding responsibility means looking at the bigger picture and acknowledging that our lives are shaped by both our choices and the forces around us, and that we must take a hard look at our own contributions to any harm done.

Video 8: Theme of Marriage 

The video explains how the novel criticizes the institution of marriage. It explains that the story questions the idea of marriage by showing it as a fake or sham arrangement. The discussion highlights a quote suggesting that someone who is a true believer in love is naturally against marriage, implying that love and marriage are opposites. In the view presented, marriage is not the ultimate goal in life as some traditions suggest (just as birth and death are inevitable) but rather an institution that can end true love and lead to unhappiness.

It compares marriage to several everyday objects and situations a jewelry box that mysteriously turns precious metals into base metal, or a disused boat that is no longer seaworthy. These metaphors suggest that marriage, over time, loses its value and becomes a source of routine responsibilities rather than a celebration of love. The speaker also points out that many middle-class people suffer in silence in unhappy marriages, as seen in the case of domestic violence and other struggles within the novel.

While older works like Thomas Hardy's novels questioned marriage, today there are alternatives such as live-in relationships and divorce, which allow people more freedom and less cultural pressure to remain in unhappy unions. The novel does not offer a moral judgment but simply portrays marriage as an institution that may not fulfill its promise of happiness, leaving the reader to consider the complexities and responsibilities that come with it.

References 

Barad, Dilip. “The Only Story - Julian Barnes.” Dilip Barad | Teacher Blog, https://blog.dilipbarad.com/2022/02/the-only-story.html. Accessed 8 February 2025.

Barnes, Julian. The Only Story. Jonathan Cape, 2018.

Barad, Dilip. (2020). EXPLORING NARRATIVE PATTERNS IN JULIAN BARNES' "THE ONLY STORY". 6. 179-188. 10.13140/RG.2.2.16090.93125. Accessed 9 February 2025.  Accessed 9 February 2025.

Barad, Dilip. (2021). SYMBOLISM OF CROSSWORD PUZZLES: ORDER, INTELLECT, AND EXISTENTIAL RESPITE IN JULIAN BARNES'S 'THE ONLY STORY. 10.13140/RG.2.2.36223.59042.  Accessed 9 February 2025.

Introduction | Character | Plot Summary | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 31 Jan 2022, https://youtu.be/46Lxx-C5Tg0?si=PTkqNdhioisd9Tdv 

"Joan | Character Study | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 3 Feb 2022, https://youtu.be/st-w_099Yr0?si=OCoRA4CEEaHpXWq8

"Memory Novel | Memory and History | Memory and Morality | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 2 Feb 2022, https://youtu.be/H4yoNBCzrUs?si=Vxc5GQPJqnbOxsYE

"Narrative Pattern | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 1 Feb 2022, https://youtu.be/395rhgkig1w?si=mqvmqwWBRqOxByZ_

"Theme of Love | Passion and Suffering | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 2 Feb 2022, https://youtu.be/7f7hCKtGkGI?si=gCVaaKw0ksJAn4OY

"Theme of Marriage | Critique of Marriage Institution | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 3 Feb 2022, https://youtu.be/SCrSyV2jXzI?si=iLvkpeE_LlO67jpC  

"Question of Responsibility | The Only Story | Julian Barnes." DoE-MKBU, YouTube3 Feb 2022, https://youtu.be/uBj-ju4RuTo?si=LW1K02vT0oNaw2Fx  

"Two Ways to Look at Life | The Only Story | Julian Barnes." DoE-MKBU, YouTube, 3 Feb 2022, https://youtu.be/s7Wom7RAqI4?si=HIzHz0luge6GKnv8

Thank you.